You can set upper and lower thresholds for defining what a region is, and it varies, but usually works well when I define silence as anything below -60dB.” This lets me break up very long tracks into distinct regions that correspond to the different sources, so I can then sort out and re-arrange them. When I get back to the studio, the first process I use in Cubase is called Detect Silence. Much of the time I’m just letting my recorder run while I point the mic at different sources.
“I visit shipping docks, junkyards, and factories to record mechanical and industrial sounds - I recently went to a meatpacking plant to get organic, gory stuff. “Whether it’s a bed for a trailer or a straightforward sound effect to go with a particular action onscreen, I begin with a lot of field recordings, which I then layer and process, and sometimes I combine them with synthesized sounds,” Dudzic explains. Recently he shared with us how some of its features enable his go-to techniques. His canvas of choice for, in his words, “bringing the audience into the sound in a way they might not have heard before” is Steinberg Cubase Pro 9.5. His three commercially released sound libraries - Trynity HDFX, Cinema Sound Tools, and RAID - can all be found in over 300 top post-production and radio facilities worldwide, and he also worked with developer Heavyocity on their wildly popular library Damage. His brooding textures and clangorous stingers have lent mood and excitement to trailers, Hollywood blockbusters including Spider-Man, Doctor Strange, and Maze Runner, numerous Netflix series, and the video game franchise Call of Duty, to name just a few. If you’ve watched a movie or a TV show in the past 15 years, you’ve heard the sound design work of Robert Dudzic many times over.
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